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Attribute in Text The University of Missouri-Kansas City Law School posts the judge’s sentencing recommendation: “The statute of which the defendants at the bar stand convicted is clear. I have previously stated my view that the verdict of guilty was amply justified by the evidence. In the light of the circumstances, I feel that I must pass such sentence upon the principals in this diabolical conspiracy [... ] which will demonstrate with finality that this nation's security must remain inviolate.”

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Parenthetical Citations As part of the sovereign's "exercise of 'terror'" (Foucault 49), "a whole military machine surrounded the scaffold" (50) to prevent possible escape attempts and keep sympathizers from disrupting the ceremony. Works Cited Foucault, Michel. Discipline & Punish: The Birth of the Prison Trans. Alan Sheridan. New York: Vintage, 1979.

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Parenthetical Citations In Disneyland, all of America's "values are exalted [...] embalmed and pacified" (Baudrillard 24-25). "It is no longer a question of a false representation of reality (ideology), but of concealing the fact that the real is no longer real" (25). Works Cited Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton, and Philip Beitchman. New York: Semiotext(e), 1983.

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Noting the Source During a March 1973 interview with Frank Gado, Coover said of reading Doctorow's novel, "As I was afraid it might, it toned my perception of the Rosenbergs. I found myself drifting into his perception of them, and it has taken a while to get it out of my mind. The conclusions he comes to are close to quite a few of mine" (155).

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Restate name to avoid ambiguity Tom LeClair has evoked Clifford Geertz's Negara: The Theatre State in Nineteenth-Century Bali to discuss the function of stagecraft in The Public Burning, but this point deserves further exploration. Geertz says of heads of state: "The king was [...] a political actor, power among powers as well as sign among signs. It was the king's cult that created him, raised him from lord to icon; for, without the dramas of the theater state, the image of composed divinity could not even take form" (Geertz 131).

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Long Quotes O'Brien also addresses the problem of audience in "dramatic politics," noting "The director [...] intends his spectacle for one audience, but it will also reach others, and perhaps with effects the reverse of what he intended" (51). He expands that idea: The natural political drama of trials and executions, assassinations and funerals normally reaches two audiences, who respond to it not only in opposite ways, but with different degrees of intensity. The audience which is on the side of the court or in tacit sympathy with the assassin has a response of satiety: "Justice has been satisfied" is a phrase which suggests that the matter is closed. But the audience which is on the side of the prisoner experiences unappeased anger, a dynamic emotion. Because of the unevenness of the reaction, this kind of political drama has always a subversive thrust, or list, quite contrary to the intentions of those who originally provide for its staging. (52) See Aims of Argument pages 124 and for format info.